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This image is known in Star Wars movie poster geek circles (not that I’d know anything about that) as “US One Sheet Original Movie Poster Style C.” It’s awesome and old school and at the height of my 7-year old’s Star Wars frenzy, I found a decent reproduction and had it lovingly framed for his bedroom.

Did I mention it’s awesome?

Tonight getting ready for bed the 7-year old gives the poster a sidelong glance and says casually, “You know I’m not into Star Wars anymore, right?”

And a little piece of my heart dies a quiet death, kind of the way Yoda finally became one with the Force in Episode VI except that had hung around for 900 years and the damned poster only survived my son’s fickle taste for one.

Only consolation is he got Beatles Rock Band at Christmas so now he wants a Beatles poster. Could be worse.

I’ve mentioned before that I’m part of a group of NYC-area mom bloggers working with the team promoting Motherhood, a movie coming out in a week or so made by a mom, starring a mom, about a mom. No money exchanging hands (that’s for you, FTC), just access to the cast and director for interviews and some nice link love on the movie Facebook page.

So I’m waiting for the call to start this morning, making chit chat with the dozen or so bloggers on the line and enjoying the not-yet muted sounds of their home lives in the background. I hear cooing babies, barking dogs, toddlers clamoring for “Sesame Street.” My background noises, meanwhile, are those of the work-at-office mom: tooth-rattling jackhammers and sirens shrieking their way down Lexington Avenue.

Uma joins the call. Mute button on. Suddenly I’m having a moment. I AM ON THE PHONE WITH BEATRIX THE BRIDE. Holy Tarantino. The warrior mother, the assassin goddess, the woman who dispatches legions and murmurs, “Those of you lucky enough to still have your lives — take them with you. But leave the limbs you’ve lost. They belong to me now.”

*Swoon*

Ooops, I’m first up! I get to read my question myself. In my mind I’m saying, “Beatrix the Bride I love you and want to braid your hair and can I try on your yellow jumpsuit” but here’s what I actually say: “Uma! Hi!” She answers my question and the dozen that follow but Blessed Virgin Mary, this call is a hot mess. It’s all dropped connections, background noise, overlapping conversation…in other words, the absolute personification of motherhood itself. I don’t think a single one of us is sweating this fact because we’re used to chaos. It is our currency, whether we work for a paycheck or not. Moms all do a variation of the same juggling act, after all. Which sometimes sucks and sometimes is beautiful and joyful.

So here are some of my favorite bits from the interview:

Uma was asked where she feels the movie’s authenticity comes from. She said she loves that Eliza’s character is not there to cast the viewer’s attention on someone else – a man or a child. She is the heart of the movie, depicted honestly – with flaws and anger issues, but very much in love with her family.

She’s surprised when other mothers dismiss the topic of motherhood in film (as in “Why watch a movie about my own boring life?”) Uma wonders why we discredit ourselves so much that we’d think raising another human being isn’t worthy of pop culture attention.

My question was about a scene described by director Katherine Dieckmann as her favorite in the film. Eliza and her husband are sitting in a car. Emotional words are exchanged. I asked Uma to describe it and here’s what she said:

Eliza is digging into the source of her unhappiness, the fact that she’s lost herself in the minutiae of domestic life. She’s worn down by the tiny, grinding repetitive acts that make up her day. She no longer recognizes herself.

I want to see this movie for that scene alone. I predict I’ll hear myself in Eliza’s words, see myself in her frustration. I wonder what will happen for her and if she’ll find peace with the choices she’s made. I wonder too about the women in my life who don’t have creative or professional outlets, who lose a bit of themselves every day. The moms who – like Eliza – pour all their talent and energy into their families at the expense of their own aspirations. They’re the ones who deserve happy endings.

I’ve always liked Uma Thurman, but when she emerged as the central muse in the twisted world of Quentin Tarantino she stole my heart once and for all. Mrs. Marsellus Wallace in Pulp Fiction? Swoon.

When I heard Uma was starring as a mom blogger in her next film, it was hard to shake the image of her as The Bride in the Kill Bill flicks — kick ass yellow jumpsuit, bloody sword, fiercely beautiful and totally lethal. Then I remembered that it was the ferocious drive to reclaim her lost daughter that drove her through the second film — so in addition to being a real-life mother, Uma knows how to play motherhood and then some.

Motherhood was written and directed by Katherine Dieckmann, who I got to spend some time with this afternoon on a conference call with a handful of other NYC-area bloggers. Couple of things you might want to know about Katherine and Motherhood:

The movie was made almost entirely by women. That rocks.

Katherine drew from her own life in creating it; in fact, the film was shot in the building where she lives. She said she awoke each morning to the sound of the crew setting up, got her kids fed and off to school, and went to work. Downstairs. Which also rocks.

Katherine’s kids loved the craft services. Anyone who’s been on a TV or film set knows what this is. It’s food, and lots of it. The kids called it “crafty” and apparently got obsessed with it because Katherine is not a “big snack giver.”

One of the reasons Katherine was inspired to make the movie is that she couldn’t find any authentic representations of motherhood on the big screen. She cites Baby Boom (Diane Keaton as J.C. Wiatt, amazing) as one of the last movies to treat motherhood as the complex juggling act it really is. (That was 22 years ago, by the way.)

I can’t wait to see this movie. I love Uma playing disheveled. She’s incredibly endearing, and with Minnie Driver as her BFF and Anthony Edwards as her hub, what’s not to love. I also love movies shot on location in this city. I can’t help but wonder if Motherhood won’t be just a little bit of a love letter to the West Village, since it’s where Katherine makes her home.

Finally, I love that blogging — mom blogging, specifically — is in the spotlight with nary a mention of FTC guidlines or brand shilling controversies. Maybe this film will put the focus back on what’s been true about mom bloggers from the beginning: they tell it like it is about motherhood. Authentically, unfiltered, with some of the most beautiful writing on the internet. They are raw, passionate, angry, joyful, supportive, frantic, serene, hilarious, loving. Some times all at once. I am not surprised — and eternally grateful — that it’s a woman bringing this glorious cacaphony to the silver screen.

[Disclosure: There are no material connections between the makers of Motherhood and me. All they did was invite me to participate in a conference call. I realize I’ve just set a dangerous precedent as a cheap date. What I really want but am too shy to request is to go on a playdate with Uma, Katherine and their kids. I might even remember to bring my kid. Katherine says it’s okay to drink wine during playdates, provided the children are not put in harm’s way. So clearly we were meant to be best friends.]

While Professional Me has been exposed lots to the usually unpleasant inner workings of the entertainment industry, Private Me still finds it possible to watch a movie in open-mouthed, awe-struck, teary-eyed wonder. You know what I’m talking about — the burning of Atlanta in “Gone with the Wind.” The massive Imperial Stardestroyer rumbling like some prehistoric beast into the opening frames of “Star Wars: A New Hope.” Dorothy stepping out of her tornado-tossed house into a vivid Technicolor Oz. Hell, I even go ga-ga watching dead Patrick Swayze push that penny towards Demi Moore’s face, as that one impeccable tear wells and spills down her (as-yet surgically unaltered) cheek…

So add “Wall*E” to my list of wonder-inducing, tear-inspiring movie experiences. Visually stunning, funny, sweet, suspenseful — and all without benefit of much dialogue to speak of, mega A-list celebrity voice performances, Disney Channel hyper-promotion, or Happy Meal trinkets. (Although I will say, my son and I hot-footed it right from the movie theater to the nearest Blockbuster to rent the Nintendo DS version of the “Wall*E” game…so am not completely immune to the siren call of tie-in merchandise…)

And the movie happens to have a message. One that I’m sure some jackass right-of-center pundit will jump on as irresponsibly pushing a liberal eco-nazi agenda on the impressionable minds of today’s moviegoing young (remember all the “Happy Feet” brouhaha?)

Puh-lease. How about this message? Earth is a pretty great place to live. Litter really stinks. It’s easy not to litter, which is one way to keep Earth a pretty great place to live. Easy soundbite for the 5-year old in my house to digest, and pretty non-partisan at that.

For more on “Wall*E” and the marketing (or non-marketing) genius of Disney/Pixar, check out this terrific post from Seth Godin. (Thanks to Jon Cronin for the heads-up.)